Tag Archives: sludge metal

Album Review – Lifetaker / Herbsthunde EP (2025)

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These German Grindcore and Sludge Metal marauders are back with a caustic new EP, a concentrated, precisely articulated sonic language in which madness and surrender blur into one another.

After crushing the souls of the infields with their 2022 sophomore album Der letzte Raum, Dortmund, Germany-based Grindcore/Hardcore/Sludge Metal marauders (and proud supporters of the antifascist movement) Lifetaker are back in action with a short but extremely aggressive and caustic EP, titled Herbsthunde, which translates from German as “autumn dogs”, or whatever the band means with that, always navigating somewhere between noise, punk, and destructive sonic expression. Presenting themselves as a trio for the first time, formed of KonstanJn Schepes on vocals, Alexander Kämper on the guitars and synths, and Gerrit Vocke on bass, vocals and machines, the band delivers in their new EP a concentrated, precisely articulated sonic language in which madness and surrender blur into one another, continuing to dismantle the boundaries of extreme music since their inception back in 2018.

Totsignal (“dead signal”) is absolutely harsh and experimental from the very first second, with the visceral sounds and demented growls blasted by the trio sending shivers down our spines; and Gerrit turns their music into the sounds of heavy machinery in Schattenkabinett (“shadow cabinet”), while KonstanJn  keeps vociferating rabidly for our total delight. Then leaning towards the music crafted by Nine Inch Nails and Marilyn Manson, it’s time for Alpha Centurio, sounding more like Industrial or Experimental Metal than their early Grindcore, followed by Maschinensturm (“machine storm”), and the name of the song says it all, a dissonant, experimental and caustic display of the band’s new sound led by the wicked synths by Alexander and the evil machines by Gerrit. Lastly, we have Herbsthunde der Karpaten (“autumn dogs of the Carpathians”), another song with a very poetic name showcasing a menacing atmosphere that goes on until the very end.

Guitar walls, analog interference patterns, and synthetically distorted cries form an intense acoustic field in Herbsthunde (available in full on YouTube and on Spotify), devoid of comfort, but marked by uncompromising clarity. All that creativity and courage to explore new lands while staying true to their roots is what makes the music by Lifetaker so compelling, and in order to join them in such a unique sonic experience you can find those guys on Facebook and on Instagram, and of course put your dirty hands on their even dirtier new offering by grabbing a copy of it from their own BandCamp. Because Lifetaker are more than ready to take your life armed with the undisputed noises found in Herbsthunde, and you better be prepared as those guys most definitely won’t take no for an answer.

Best moments of the album: Schattenkabinett and Alpha Centurio.

Worst moments of the album: None.

Released in 2025 Ván Records/Summer Darling Tapes

Track listing
1. Totsignal 4:08
2. Schattenkabinett 3:01
3. Alpha Centurio 3:26
4. Maschinensturm 3:52
5. Herbsthunde der Karpaten 4:57

Band members
KonstanJn Schepes – vocals
Alexander Kämper – guitar, synths
Gerrit Vocke – bass, vocals, machines

Concert Review – Rivers Of Nihil (Lee’s Palace, Toronto, ON, 06/22/2025)

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A scorching night of sheer progressiveness and aggressiveness in Toronto, courtesy of some of the must-see names of the current American rock and metal scene.

OPENING ACTS: Glacial Tomb, Inter Arma and Holy Fawn

This Sunday night in Toronto was one of those days that felt like you were at an open air sauna, and GLACIAL TOMB, INTER ARMA, HOLY FAWN and RIVERS OF NIHIL made sure Lee’s Palace got even hotter and more humid during their The Aggressive Progressive Tour 2025, their last stop of the tour, and another excellent event brought to the city by the one and only Noel Peters of Inertia Entertainment. Keith Ibbitson of Metal Paparazzi coundn’t be there, unfortunately, but not only I was there inside the rock and metal sauna called Lee’s Palace to cover such a great night of heavy music, but I was also lucky enough to get some wild shots from our brother Ryan Miles Leblanc to add to this review. Furthermore, if you take into account almost every single band on this planet is playing at all of those awesome European summer festivals (just check the lineup for Graspop Metal Meeting this year, for example), it’s actually a miracle Toronto got this show during what’s in my humble opinion one of the biggest “metal concert draughts” in the history of the city. In all seriousness, I’m starting to get worried about the future of heavy music in Toronto, as we’re getting less and less concerts, and even being left out of tours scheduled for multiple Canadian location, but Toronto.

Done with the rant about the lack of metal concerts in Toronto. Let’s get back to the show, and what an amazing show by Denver, Colorado’s own Sludge/Death/Black Metal beast GLACIAL TOMB, kicking ass hard in the ass with their heavier-than-hell sounds. Having released the excellent Lightless Expanse last year, available on both BandCamp and on Spotify, the band formed of Ben Hutcherson, Kevin Berstler, David Small and Joey Spates took no prisoners in their quest for heaviness and obscurity, crushing our damned souls with violent yet melodic and grim songs like Abyssal Host and Stygian Abattoir. Those guys were by far one of the most solid opening bands I’ve ever seen live, raising the bar high for the upcoming attractions of the night, and if you’ve never seen Glacial Tomb live or if you’ve never heard anything from them, I highly recommend you go check their discography and keep an eye on their tour dates, because they’re definitely a must-see band of the current underground scene.

Setlist
Abyssal Host
Voidwomb
Stygian Abattoir
Wound of Existence
The Lightless Expanse
Enshrined in Concrete

Band members
Ben Hutcherson – vocals, guitars
Kevin Berstler – guitars
David Small – bass
Joey Spates – drums

After a short and necessary break, where everyone took the time to cool off with some beer and water (and one of the concert goers even said the air outdoor felt like “butternut squash soup,” just to give you an idea of how hot and humid it was), it was time for Richmond, Virginia-based Sludge/Black/Death/Post-Metal outfit INTER ARMA (and hell yeah, I love their name!) to bring sheer doom to the venue with their noisy and apocalyptic performance. Their ruthless setlist was comprised basically of songs from their latest album New Heaven, released in 2024 (also available on BandCamp and on Spotify), those being New Heaven, Violet Seizures, and Concrete Cliffs, and oh boy, those songs sounded heavier than a thousand thunders. Frontman Mike Paparo was on fire throughout their entire concert, as well as a tiny bit drunk (which was actually fun), supported by the unrelenting guitarists Steven “Dirt” Russell and Trey Dalton, and just like I said for Glacial Tomb, if you know nothing about Inter Arma simply go after their discography because those guys play amazing metal music.

Setlist
New Heaven
Citadel
Violet Seizures
Concrete Cliffs
An Archer in the Emptiness

Band members
Mike Paparo – vocals
Steven “Dirt” Russell – guitars
Trey Dalton – guitars
Joel Moore – bass
Alex Tomlin – drums

The venue got really packed (and consequently even hotter) when Phoenix, Arizona’s cult Post-Black Metal/Rock act HOLY FAWN took the stage for the total delight of their fans, blasting a dark and gripping setlist including songs from all of their albums, like their 2022 opus Dimensional Bleed, plus their brand new single Beneath a Lightless Star, all available on BandCamp and on Spotify. Literally everyone at Lee’s Palace was having an absolute blast with those American rockers, getting louder and louder as they kept delivering total heaviness armed with their sonic weapons. It was indeed a phenomenal concert by Holy Fawn, proving why they’ve become legends in the underground scene, and even the guys from Rivers of Nihil were enjoying their show a lot from backstage. I guess it won’t take long for the band to return to Toronto, maybe as the headliners next time, and I’m beyond certain it will be a sold out event.

Setlist
Candy
Dark Stone
Blood Pact
Beneath a Lightless Star
New song (SVR)
Void of Light
Seer

Band members
Ryan Osterman – vocals, guitar
Evan Phelps – guitar
Alexander Rieth – bass
Austin Reinholz – drums

RIVERS OF NIHIL

It wasn’t even 9:30pm, which is amazing as that usually means we can all enjoy the show to the fullest without worrying about the time and go home earlier than expected, when the main attraction of the night, Reading, Pennsylvania’s unstoppable Progressive/Technical Death Metal masters RIVERS OF NIHIL took the stage by storm with a brilliant performance, igniting a beautiful “hurricane” on the floor section. Currently promoting their 2025 self-titled new album, which you can enjoy in full on BandCamp and on Spotify, the band formed of Adam Biggs, Brody Uttley, Andy Thomas and Jared Klei, with the support of the awesome saxophonist Patrick Corona (of the excellent Progressive Metalcore band Cyborg Octopus), delivered a powerful, captivating, heavy-as-hell and extremely dynamic show, with songs like The Silent Life, American Death and Water & Time sounding even better live than in the studio, which is always a delight for me, by the way. The band was tight, there was zero room for error, and the reaction of their fans to each song played was a thing of beauty. We even got a wall of death to the sound of Patrick’s saxophone. Thank you, Rivers of Nihil, for bringing some quality heavy music to the city during this boring period of musical draught, and whenever you guys decide to pay the city of Toronto a visit again, rest assured we’ll all be here waiting for you.

Setlist
The Sub‐Orbital Blues
The Silent Life
American Death
A Home
The Void From Which No Sound Escapes
Water & Time
House of Light
Death Is Real
Episode
Where Owls Know My Name

Encore:
Clean

Band members
Adam Biggs – vocals, bass
Brody Uttley – guitars
Andy Thomas – guitars, backing vocals
Jared Klein – drums, backing vocals
Patrick Corona – saxophone

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Album Review – Witchrot / Soul Cellar (2025)

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Toronto’s own conjurers of doom and psychedelia return with their sophomore opus, reflecting the lives of its creators, delving into themes of hopelessness, betrayal, paranoia, and societal frustration.

Emerging from Toronto’s underground in 2018, Doom/Sludge Metal/Psychedelic Rock conjurers Witchrot have captivated audiences with their heartfelt fusion of Doom Metal with fuzzed-out psychedelia and haunting shoegaze, with their atmospheric melodies and crushing heaviness pushing genre boundaries, creating a sound that lingers like an echo in the abyss. Now in 2025 the band formed of vocalist Lea Reto, guitarist Peter Turik, bassist Jon Ferreira, keyboardist Patrick Sherrard, and drummer Myles Deck is set to release Soul Cellar, the follow-up to their 2021 debut Hollow. Recorded by Nixon Boyd at Simcoe Mechanical and by Dylan Frankland at Palace Sound, with additional recordings by Chad Ross and Scott Deathe, mixed by Dylan Frankland, mastered by Tony Reed at HeavyHead Recording Company, and displaying a darkly sexy cover art by ZZ Corpse, Soul Cellar reflects the lives of its creators, delving into themes of hopelessness, betrayal, paranoia, and societal frustration, inviting listeners to immerse themselves in the raw emotion and sonic depth the band has become known for.

In the opener Possession Deepens, a smooth, sexy and enfolding start gradually evolves into a psychedelic sonic voyage led by the minimalist yet powerful vocals by Lea, supported by the atmospheric sounds by her bandmates; and Peter then enhances the band’s aggressiveness with his sharp riffs in Tombstoned, blending Doom, Sludge and Stoner Metal in great fashion while Myles offers those trademark sluggish beats. Throat Cutter is another song that starts in a phantasmagorical way before exploding into more of their fierce rock and metal sonority, with Peter stealing the show again armed with his axe; whereas adding an extra pinch of old school Rock N’ Roll to their core sound we have Die Alone, with Patrick’s striking keys being nicely boosted by the rumbling kitchen by Jon and Myles. Green River is a way too mellow tune that’s not at the same level as the other songs of the album, flowing into Spineless, sounding a lot heavier, darker and stronger thanks to another mesmerizing vocal performance by Lea, resulting in a lecture in modern-day Doom Metal infused with Psychedelic Rock. And lastly, we face the title-track Soul Cellar, with the reverberating, menacing bass by Jon making your head tremble in the name of dark and merciless Doom Metal.

In Soul Cellar, Witchrot continues to evolve while staying true to their roots, creeping and crawling under your skin armed with their insane grooves and eerie keys that will haunt you for days, sounding absolutely diabolical and addictive. Hence, you can get in touch with this precious gem of the Torontonian underground via Facebook and Instagram, staying up to date with all things Witchrot (including their excellent live performances), subscribe to their YouTube channel, stream their music on Spotify or on any other platform, and of course purchase Soul Cellar from BandCamp. Doom and psychedelia have never sounded better together thanks to the undeniable talented of the Witchrot crew, and once you savor their music for the very first time, there’s no turning back.

Best moments of the album: Tombstoned, Die Alone and Spineless.

Worst moments of the album: Green River.

Released in 2025 Fuzzed and Buzzed Records/Majestic Mountain Records

Track listing
1. Possession Deepens 6:51
2. Tombstoned 5:05
3. Throat Cutter 6:23
4. Die Alone 5:06
5. Green River 2:44
5. Spineless 5:03
6. Soul Cellar 8:14

Band members
Lea Reto – vocals
Peter Turik – guitar
Jon Ferreira – bass
Patrick Sherrard – keyboards
Myles Deck – drums

Album Review – Grey Mountain / Grey Mountain (2025)

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A transatlantic metal project featuring members of several renowned acts strikes with their debut offering, a crushing fusion of Heavy, Death and Doom Metal with Post-Metal and other discordant influences.

A transatlantic metal project featuring members of Monsterworks, Bull Elephant, Construct of Lethe, and Black Harvest, Grey Mountain are unleashing upon us their self-titled debut opus, offering our avid ears a crushing fusion of styles from Heavy, Death and Doom Metal to Post-Metal and other discordant influences. Recorded by the band itself, mixed by vocalist and guitarist Jon Higgs (Thūn, Moose Cult), mastered by Dan Swanö at Unisound, and displaying a stylish artwork by guitarist and bassist Kishor Haulenbeek (Black Harvest, Construct of Lethe, In Human Form), the debut album by the aforementioned Jon and Kishor, alongside drummer James Garnett (Monsterworks), will hit you right in the jugular without a single drop of mercy, proving those three talented musicians are not fooling around with their new partnership.

The minimalist guitar lines by Jon and Kishor and the sluggish beats by James set the tone in Grey Mountain, offering a sharp fusion of Doom and Post-Black Metal, or in other words, the music couldn’t have represented better the name of the song (and also of the band). Perpetual Imbalance might be shorter in duration, but it’s as harsh and visceral as the opening track, with James hammering his drums in the name of modern-day Sludge Metal; followed by A Universal Evil, another melodic yet grim creation by the trio, offering a dynamic guitar duel between Jon and Kishor, being therefore perfect for breaking your neck headbanging. Then presenting a pure Post-Metal sonority we have Hermitage, with Jon’s anguished roars sounding beautifully haunting; whereas Many Shades, A Storm starts in a more introspective, serene manner before evolving into a not-so-exciting Post-Metal feast led by James’ classic beats. It’s time for the trio to crush their instruments in Decline and Fall, with Jon roaring like a beast amidst a modern-day fusion of Post-Metal with Doom and Sludge Metal, and the band fires one last breath of heavy and melodic sounds in the form of Living Mythology, with their riffs and solos sounding caustic and piercing until the very end.

Having already a second album planned in a not-so-distant future, Grey Mountain deliver an overdose of heaviness in their self-titled debut offering, which you can purchase from Ampwall or from BandCamp. Also ,although the band itself doesn’t have any official social media yet, you can get more details about the whole project as well as other projects from Jon’s Instagram, and who knows, maybe sooner than we can say “metal” we’ll see those guys hitting the stage together as Grey Mountain. Based on the quality of the music found in their debut, I think we all agree we need that to happen.

Best moments of the album: Grey Mountain, Hermitage and Living Mythology.

Worst moments of the album: Many Shades, A Storm.

Released in 2025 Eat Lead and Die Music

Track listing
1. Grey Mountain 6:39
2. Perpetual Imbalance 3:39
3. A Universal Evil 7:27
4. Hermitage 6:35
5. Many Shades, A Storm 4:30
6. Decline and Fall 3:52
7. Living Mythology 5:48

Band members
Jon Higgs – guitars, vocals
Kishor Haulenbeek – guitar, bass, vocals
James Garnett – drums

Album Review – Warlung / The Poison Touch (2025)

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This talented Texan foursome is back in action with their fifth full-length album, turning all levels further and bursting with contagious energy through its supercharged eight tracks.

Founded in 2016 when former members of the bands The Dead Revolt and Rivers joined forces to push the limits of song writing and creativity, Houston, Texas-based Occult Rock/Stoner/Doom Metal beast Warlung is back with fifth studio album, titled The Poison Touch, the follow-up to their 2022 album Vulture’s Paradise, delving deeper into atmosphere while maintaining the gritty undertone that defines their sound. Recorded by Andrew Jacob Rodriguez at King Benny’s House of Sound, mixed and mastered by Travis Weatherred, and displaying a classic artwork by Laura Bennett, the new opus by George Baba on vocals, guitar and keyboards, Philip Bennett on vocals and guitar, Chris Tamez on bass, and Ethan Tamez on drums sees the Texan foursome turn all levels further and burst with contagious energy through the album’s supercharged eight tracks, delivering the exact dose of evil and epic stories you need to enter the winter, being therefore recommended for fans of Black Sabbath, Rainbow, Green Lung and Ghost, among other rock and metal heavyweights.

The band comes ripping in full force in the high-octane, rockin’ tune Digital Smoke, led by the striking vocal attack by both George and Philip, therefore starting the album on a majestic note. Then investing in a Southern Rock-infused sonority it’s time for their guitars to strike us hard in White Light Seeker, a classy and smooth composition by those American rockers, followed by the atmospheric interlude Mourning Devils, perfectly warming us up for Spell Speaker, which starts with the metallic bass by Chris inspiring us all for some good old headbanging, supported by the classic beats by Ethan, quickly joined by the melodious riffs and solos by George and Philip, flowing majestically through its almost nine minutes and sounding very Black Sabbath-ish for our vulgar delectation.

They continue to blast our ears with their melodic fusion of Stoner Metal with Occult Rock in Holy Guide, with the background keys by George giving the whole song a welcome haunting vibe in the vein of Ghost. It’s time to hit the road alongside Warlung in the Rock N’ Roll-fueled tune Rat Bastard, again showcasing their passion for heavy music with a sensational performance by George and Philip on the guitars, not to mention how groovy the bass by Chris sounds and feels. The quartet then offers the decent ballad The Sleeping Prophet, overflowing melancholy before we’re treated to 29th Scroll, 6th Verse, bringing forward one last explosion of Occult Rock infused with Sludge Metal nuances, with Ethan pounding his drums mercilessly until the very end.

From start to finish, the listener will be blasted with in-your-face, hard-rocking energy while simultaneously embracing a hauntingly beautiful experience while the band keeps exploring new realms, serving as both a continuation and evolution of their occult-laden style inspired by the 70’s era of rock and psychedelia. Hence, don’t forget to give those talented Texans a shout on Facebook and on Instagram, to stream their awesome discography in full on several streaming services like Spotify, and of course to purchase a copy of their newborn rockin’ opus from the Heavy Psych Sounds Records’ BandCamp or webstore (also available in the United States). Warlung bring it throughout their entire new album, paying homage to the past of Rock N’ Roll while at the same time always marching forward, leaving us eager for more of their fusion of rock, doom and the occult in the near future.

Best moments of the album: Digital Smoke, Spell Speaker and Rat Bastard.

Worst moments of the album: The Sleeping Prophet.

Released in 2025 Heavy Psych Sounds Records

Track listing
1. Digital Smoke 4:28
2. White Light Seeker 5:22
3. Mourning Devils 1:36
4. Spell Speaker 8:44
5. Holy Guide 3:48
6. Rat Bastard 4:03
7. The Sleeping Prophet 3:48
8. 29th Scroll, 6th Verse 4:36

Band members
George Baba – vocals, guitar, keyboards
Philip Bennett – vocals, guitar
Chris Tamez – bass
Ethan Tamez – drums

Album Review – Jinjer / Duél (2025)

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Ukraine’s own metal juggernauts return with their fifth full-length opus, taking on a much more aggressive tone, ferociously wielding a fully stocked arsenal of metal genre trademarks.

Donetsk, Ukraine’s own leading Alternative/Groove Metal/Djent juggernauts Jinjer return with their eagerly awaited fifth studio album, entitled Duél, the follow-up to their 2021 album Wallflowers, taking on a much more aggressive tone, ferociously wielding a fully stocked arsenal of Progressive, Nu, and Death Metal, among other metal genre trademarks. On their new album, the iconic frontwoman Tatiana Shmayluk, guitarist Roman Ibramkhalilov, bassist Eugene Abdukhanov, and drummer Vlad Ulasevich continue their long-lasting collaboration with accomplished producer Max Morton, who co-produced, mixed and mastered the album, living up to the band’s reputation as metal visionaries, once more showing that they refuse to follow any set rules in their genre, but choose their own path of creativity.

Two seconds is all that Jinjer need to kick us hard in the ass with their enraged metal music in the high-octane Tantrum, with the bass by Eugene making our heads tremble in awe; whereas Hedonist offers four minutes of classic Jinjer to our avid ears, with Tatiana delivering her striking clean vocals and harsh roars amidst a fusion of Groove Metal and Djent. Rogue, another strong contender for their live concerts, will generate some wild circle pits if played live while Eugene and Vlad keep hammering their instruments nonstop, and the Sludge Metal-infused riffs by Roman dictate the pace in Tumbleweed, while Tatiana declaims the song’s darkly poetic lyrics with tons of passion. Then we have Green Serpent, one of the previously released singles, a venomous fusion of Alternative Metal with Groove and Post-Metal nuances where Vlad pounds his drums mercilessly for our total delight.

Kafka is another groovy, intricate and progressive creation by the quartet, with Tatiana’s mesmerizing vocals being nicely supported by the classy kitchen blasted by Eugene and Vlad, followed by Dark Bile, one of the most aggressive songs of the album thanks to Tatiana’s enraged roars, while Roman and Eugene continue with their stringed axe attack. I love when the band goes full metal like in Fast Draw, offering an overdose of heaviness, harsh, deep and visceral screams and blast beats, while Roman extracts piercing, sharp riffs from his guitar, whereas Someone’s Daughter, the very first single released, was somewhat promising, but compared to the rest of the album it feels a bit generic. A Tongue So Sly is yet another song where the band put the pedal to the metal and delivered sheer violence, while still overflowing groove and intricacy; and the album ends with the fast-paced title-track Duél, perfect for some action inside the mosh pit to the hammering beats by Vlad while Tatiana vociferates the song’s cryptic words majestically.

Showcasing the very best of their multifaceted, extreme soundscapes, providing a gripping listening experience, Duél is filled with a fierce attitude and tons of emotion, inviting their fans for multiple listens as each track evolves on their own. Hence, don’t forget to check what the band is up to, including their tour dates, on Facebook and on Instagram, to stream their music on YouTube and on Spotify, and to grab a copy of Duél by clicking HERE or HERE. Because Jinjer are always challenging themselves for a “creative duel”, pushing their boundaries further and further and, consequently, bringing joy and energy to our hearts thanks to their ever-evolving, never dull or stale heavy music.

Best moments of the album: Tantrum, Rogue, Fast Draw and Duél.

Worst moments of the album: Someone’s Daughter.

Released in 2025 Napalm Records

Track listing
1. Tantrum 3:59
2. Hedonist 3:46
3. Rogue 3:12
4. Tumbleweed 3:22
5. Green Serpent 4:01
6. Kafka 4:09
7. Dark Bile 3:40
8. Fast Draw 3:14
9. Someone’s Daughter 4:17
10. A Tongue So Sly 4:25
11. Duél 4:48

Band members
Tatiana Shmayluk – vocals
Roman Ibramkhalilov – guitars
Eugene Abdukhanov – bass
Vlad Ulasevich – drums

Album Review – Weed Demon / The Doom Scroll (2025)

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A Columbus, Ohio-based trio returns heavier than ever with their vicious new album, revamping their sludged-out stoner doom with death/thrashing atrocity.

The audio equivalent of bong water spilled on a Ouija board, Columbus, Ohio-based Weed Demon are a 4-piece Sludge/Stoner/Doom Metal beast who continues to push the boundaries of their sound, captivating audiences with relentless creativity and a crushing cosmic vision. Now in 2025 the band formed of Jordan Holland on vocals and bass, Andy Center and Brian Buckley on the guitars, and Nick Carter on drums returns with their third installment, titled The Doom Scroll, following up on their 2020 album Crater Maker. Engineered at StoneRipper Studios, and displaying a stunning artwork by Mont Doom, the album sees the band revamping their sludged-out stoner doom with death/thrashing atrocity, often weaving through hallucinatory dungeon synth passages.

Just hit play and Acid Dungeon will hit us like the soundtrack to a horror movie from the 80’s, sending shivers down our spines before all hell breaks loose in Tower of Smoke, where Andy and Brian begin their riff attack in great fashion supported by the massive, headbanging drums by Nick, with the only problem for me being that it’s an instrumental song (it’s quite decent overall, though). Then we have Coma Dose, featuring guest vocalist Shy Kennedy of Funerals (PGH) and Horehound, sounding a lot stronger and overflowing groove thanks to the striking riffage by the band’s guitar duo, while the vocals by Jordan and Shy sound enraged and mesmerizing at the same time. Roasting the Sacred Bones brings forward more of the band’s acid, visceral Doom and Sludge Metal, with Jordan once again roaring manically supported by the hammering beats by Nick, flowing into the acoustic outro Dead Planet Blues, which puts a cinematic ending to the album. But wait, as there’s a secret track in the vinyl edition of the album, their cover version for Frank Zappa’s Willy The Pimp, originally recorded back in 1969 in the album Hot Rats, with Weed Demon’s rendition being as impactful and vibrant as the original.

The guys from Weed Demon are waiting for you on Facebook and on Instagram with news, more of their music, their tour dates and so on, and of course you can stream their sludgy and visceral creations on Spotify, as well as purchase a copy of the excellent The Doom Scroll from their own BandCamp, from the Electric Valley Records’ BandCamp or webstore, from the Glory or Death Records webstore, or click HERE for all things Weed Demon. As already mentioned, Weed Demon continue to experiment with different sounds including Thrash and Death Metal in The Doom Scroll without forgetting their core Sludge and Doom Metal essence, resulting in a very dynamic and fresh album while at the same time sounding old school, and based on the quality of their new opus I bet we’ll hear a lot from those Ohio guys in the coming years, always in the name of weed, heaviness and doom.

Best moments of the album: Coma Dose and Roasting the Sacred Bones.

Worst moments of the album: Tower of Smoke.

Released in 2025 Electric Valley Records

Track listing
1. Acid Dungeon 2:42
2. Tower of Smoke 7:33
3. Coma Dose 9:33
4. Roasting the Sacred Bones 6:17
5. Dead Planet Blues 4:49

Vinyl Edition secret bonus track
6. Willy The Pimp (Frank Zappa cover) 6:14

Band members
Jordan Holland – lead vocals, bass
Andy Center – guitars, backing vocals
Brian Buckley – guitars, backing vocals
Nick Carter – drums

Guest musician
Shy Kennedy – vocals on “Coma Dose”

Album Review – The Sun Through a Telescope / Warm, Grey Day (2025)

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Ottawa, Canada’s own Drone, Doom and Sludge Metal lone wolf will crush our senses with his new offering, capturing the rawness of the BBC Radio One and Peel Sessions in his distinctive sound.

Incorporating elements of Post-Metal, Doom Metal, Post-Rock, Doomgaze, Psychedelic, and Ambient in his music, Ottawa, Canada-based lone wolf Leigh Newton (aka Lee Neutron) and his Drone/Doom/Sludge Metal beast The Sun Through a Telescope strike again with a brand new offering, titled Warm, Grey Day, the thirteenth release (and fourth full-length album) in the project’s already solid career. Written, recorded and mixed by Leigh himself at G-West Studios, and mastered by Topon Das at Apartment 2 Studios, Warm, Grey Day captures the rawness of the BBC Radio One and Peel Sessions, which Leigh was listening to a lot during the writing and recording of the album, being therefore recommended for fans of Godflesh, Jesu, Oranssi Pazuzu, Zeal & Ardor, and Sumac, among many others.

The album kicks off with the 12-minute experimental tune Eyes Lambent, arising from the underworld like a devilish creature, feeling like a sonic mantra where Leigh delivers minimalist, haunting sounds from his instruments before all hell breaks loose in a feast of Drone and Doom Metal. Then Leigh and his sharp riffs ignite the sluggish Fantastic Waste, overflowing melancholy and obscurity to Leigh’s harsh vociferations; followed by Pathways I, presenting eight minutes of a space and time voyage in the form of Doomgaze, with Leigh experimenting with countless sounds in the background, flowing into the harsh Pathways II, a grim fusion of Drone, Doom and Sludge Metal, with Leigh hammering his drums while also gnarling nonstop.

We’re then treated to two and a half minutes of distorted yet melodious sounds in The Mercy, working as an interlude before we face Yellow Darkyard, the second song of the album that surpasses the 12-minute mark, sounding very emotional with a striking, passionate vocal performance by Leigh, who also does an amazing job on the guitars and drums, adding an extra touch of heaviness to the overall result and ending on a high and caustic note. In Green (Again) our lone wolf offers a lighter version of his project, almost like an acoustic track with his guitars exhaling hope and peace, before the album ends with the pure Ambient track Grey, putting a whimsical conclusion to such a diverse and interesting album.

It’s been a while since our last review of any release by The Sun Through a Telescope, with the lats one being the project’s 2017 album Black Hole Smile, and I must say it’s a pleasure to get in touch once again with such a talented musician and his unique take on the genre, always pushing the boundaries and always experimenting with new sounds and techniques. Hence, if you want to give Leigh a shout you can find him on Facebook, and of course purchase a copy of Warm, Grey Day from BandCamp (with a limited run of 20 cassettes available), which is also available on all streaming services like Spotify. I don’t think it will take long for us to hear again from Leigh and his The Sun Through a Telescope as the guy seems to be unstoppable, and as long as he keeps delivering to our avid ears high quality noise like what’s found in Warm, Grey Day we’ll be more than happy with that.

Best moments of the album: Fantastic Waste, Pathways II and Yellow Darkyard.

Worst moments of the album: The Mercy.

Released in 2025 Independent

Track listing
1. Eyes Lambent 12:21
2. Fantastic Waste 6:16
3. Pathways I 8:04
4. Pathways II 5:31
5. The Mercy 2:33
6. Yellow Darkyard 12:11
7. Green (Again) 3:25
8. Grey 5:01

Band members
Leigh Newton – vocals, guitars, bass, drums, programming, samples

Album Review – Fostermother / Echo Manor (2024)

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This Heavy Rock trio from Texas strikes again with their third studio album, pushing their sound into heavy psych territory with hints of Post-Rock and Progressive Rock.

Founded in 2019 in Houston, Texas by multi-instrumentalist Travis Weatherred, quickly joined by bassist Stephen Griffin and with drummer Jason Motamedi officially rounding out the lineup, Heavy/Psych Rock trio Fostermother is about to release their third full-length opus, titled Echo Manor, pushing their sound into heavy psych territory with hints of Post-Rock and Progressive Rock. Produced, mixed and mastered by Travis Weatherred, and displaying a classy artwork by Kimberly Weatherred, Echo Manor is a finely chiseled 10-track opus that is a rich sonic journey driven by goldsmith riffing, alluring grooves and the haunting Alternative Rock/Shoegaze-infused vocals by Travis.

The opening tune Wraith already presents the band’s trademark rockin’ sounds, with the Sludge Metal riffs by Travis and Stephen adding endless heaviness to their already thrilling music, flowing into the neck-breaking Heavy Rock tune Empty One, bringing to our avid ears their fierce yet melodic riffs, plus of course the classic beats by Jason. Then sounding more melodic and mysterious, All We Know is another song heavily influenced by Sludge Rock and Metal, while Travis continues to deliver his smooth, penetrating vocal lines; whereas Jason’s pounding drums kick off the title-track Echo Manor, starting in an ethereal, atmospheric manner before the guitars by Travis and Stephen bring sheer Rock N’ Roll to our ears, not to mention their soulful guitar solos. And it’s then time to invest in a Doom Metal sound in Rituals Unknown, while still presenting their Psych Rock vibe, again delivering the power of the riff for our total delight.

Featuring a guest guitar solo by Rusty Miller of High Desert Queen, get ready for a six-minute Heavy Rock voyage together with the trio entitled King To A Dead Tree, with their guitars and bass sounding striking supported by the hammering drums by Jason, followed by Carry Me, a serene ballad by the band that doesn’t add much to the album, although the vocals by Travis are spot-on. And offering more of their Heavy Rock with psych and sludge elements we have Watchers, where the riffs by Travis and Stephen walk hand in hand with the slow and steady drums by Jason; while the second to last song of the album, titled Lighthouse, once again ventures through the lands of Sludge and Stoner Rock. Finally, Jason pounds his drums with tons of anger in In The Garden Of Lies, a melodic, whimsical creation by Fostermother, working as an outro as the music fades into the embracing sound of minimalist piano notes.

In a nutshell, Fostermother deliver exactly what they said about their music in Echo Manor, bringing forward the power of the riff to us all while also presenting tons of delicate and atmospheric moments. Hence, don’t forget to visit the band’s official Facebook and Instagram for news, tour dates and so on, to stream their music on Spotify, and if Heavy Rock is your cup of tea you can grab a copy of the album from their own BandCamp page, as well as order a physical copy of the album in the US, in Europe or worldwide, or click HERE for all things Fostermother. When a band sounds so heavy yet so delicate at the same time like Fostermother, you know they’re going places, and Echo Manor is proof that they’re on the right path, always sounding honest, fresh and loyal to their foundations.

Best moments of the album: Empty One, Echo Manor and King To A Dead Tree.

Worst moments of the album: Carry Me.

Released in 2024 Ripple Music

Track listing
1. Wraith 4:39
2. Empty One 4:03
3. All We Know 3:47
4. Echo Manor 3:50
5. Rituals Unknown 3:44
6. King To A Dead Tree 6:20
7. Carry Me 3:06
8. Watchers 5:10
9. Lighthouse 3:21
10. In The Garden Of Lies 3:38

Band members
Travis Weatherred – vocals, guitars, keyboards
Stephen Griffin – guitars, bass, keyboards
Jason Motamedi – drums

Guest musician
Rusty Miller – guitar solo on “King To A Dead Tree”

Concert Review – Lamb of God & Mastodon (Budweiser Gardens, London, ON, 07/31/2024)

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Two of the most important bands of the current metal scene crushed the city of London, Canada in celebration of the 20th anniversary of their most-acclaimed albums to date.

OPENING ACTS: Malevolence and Kerry King

What a wild and busy day and night it was this Wednesday, when the cozy Budweiser Gardens in London, Ontario hosted one of the most insane tours of the year, Ashes of Leviathan Tour 2024, featuring nothing more, nothing less than MALEVOLENCE, KERRY KING, MASTODON and LAMB OF GOD. It was a rough 2-hour drive for me to get to London in time for the shows, but it was absolutely worth it as this tour is simply celebrating the 20th anniversary of two seminal releases, Lamb of God’s biggest-selling album Ashes of the Wake and Mastodon’s acclaimed sophomore album Leviathan, which were both released on August 31, 2004. My friend Keith Ibbitson of Metal Paparazzi was also there and was dying to photograph his favorite band of all time, Lamb of God, for the first time in his career; however, no idea why, he only got the approval for the first band, Malevolence, something we’ve never seen happening before nor any of our friends, which is why the only good photos of this review are for Malevolence. Sorry about that.

The first band to hit the stage was Sheffield, South Yorkshire, England-based Groove Metal/Metalcore piece MALEVOLENCE, and let me tell you those guys kicked some serious ass, working as the perfect warmup for the devastation that was about to come. Still promoting their 2022 album Malicious Intent, the band formed of Alex Taylor, Joshua Baines, Konan Hall, Wilkie Robinson and Charlie Thorpe put everyone at Budweiser Gardens to slam into the pit, turning up the heat on an already extremely hot day in the city. You can get more details about the band by clicking HERE, and also stream their infuriated creations on Spotify. I just wish they had more time to play, and that the start of the show wasn’t so early, before 6pm, which impacted in a negative way the amount of people already inside the venue for their show.

Setlist
Malicious Intent
Life Sentence
Still Waters Run Deep
Self Supremacy
Higher Place
Keep Your Distance
On Broken Glass

Band members
Alex Taylor – vocals
Joshua Baines – guitars
Konan Hall – guitars, vocals
Wilkie Robinson – bass
Charlie Thorpe – drums

It wasn’t even 7pm when Los Angeles, California’s one and only Thrash Metal icon KERRY KING and his crew took the stage of Budweiser Gardens by storm with their blood red (and sometimes dark blue) stage, endless heaviness, and a strong will to crush everything and everyone that dared to cross their path on Wednesday night. Playing songs from his insane debut solo album From Hell I Rise including Where I Reign and Idle Hands, plus the Slayer all-time classics Raining Blood and Black Magic, Mr. Kerry King was absolutely ruthless during his short but extremely destructive set, supported by the soaring vocals by Death Angel’s frontman Mark Osegueda and also by his Slayer buddy Paul Bostaph on drums, driving fans crazy and igniting some demented mosh pits for the delight of lovers of some good circle pit action. Once again, I really wish his setlist was a bit longer, maybe with a couple more songs from his album or from Slayer, but in the end he certainly proved there’s life outside Slayer as his solo material sounds incredible both in studio and on stage, and you can enjoy Kerry’s wicked music on Spotify, of course, or click HERE for all things surrounding one of the greatest guitarist in the history of Thrash Metal.

Setlist
Where I Reign
Trophies of the Tyrant
Residue
Toxic
Idle Hands
Shrapnel
Raining Blood
Black Magic
From Hell I Rise

Band members
Mark Osegueda – vocals
Kerry King – guitars
Phil Demmel – guitars
Kyle Sanders – bass
Paul Bostaph – drums

MASTODON

It was only 8pm when Atlanta, Georgia Progressive/Sludge Metal beast  MASTODON, one of the main attractions of the night (and it’s funny because there was still light outside the venue), kicked off their more-than-special set based on their 2004 album Leviathan, playing the entire album from the very first song, the breathtaking Blood and Thunder, until Joseph Merrick, all supported by a beautiful stage with lots of fire, crazy background images, and a lot of smoke too. Troy Sanders, Brent Hinds, Bill Kelliher and Brann Dailor were insane as usual, mastering the art of their instruments for our total delectation, therefore receiving a wild and huge ovation form the fans at Budweiser Gardens. The overall sound was a bit muffled to my liking, but nothing that could stop the quartet form putting on a fantastic show, taking us all back 20 years with one of the most important metal albums of the past two decades. There was even time for a nice encore with the songs More Than I Could Chew, Circle of Cysquatch and Steambreather, and after that Brann took some time to thank everyone and to say how insane it is to be on this tour with Lamb of God, both celebrating 20 years of their masterpieces, also taking into account the fact they’ve been friends for all that time too. Mastodon always deliver, and hopefully we’ll see them celebrating 30, 40, 50 years and so on of the great Leviathan.

Setlist
Leviathan
Blood and Thunder
I Am Ahab
Seabeast
Ísland
Iron Tusk
Megalodon
Naked Burn
Aqua Dementia
Hearts Alive
Joseph Merrick

Encore:
More Than I Could Chew
Circle of Cysquatch
Steambreather

Band members
Troy Sanders – vocals, bass
Brent Hinds – vocals, guitars
Bill Kelliher – guitars, backing vocals
Brann Dailor – vocals, drums

LAMB OF GOD

After a short break, where fans took the time to grab a few final beers and whatever was left from the merch booths, it was time for Richmond, Virginia’s magnificent Groove Metal institution LAMB OF GOD to pulverize our senses with the full play of their 2004 masterpiece Ashes of the Wake, and let me tell you that the city of London, Ontario simply loves Lamb of God from the bottom of their hearts. The reaction of the fans to each and every song played by D. Randall “Randy” Blythe on vocals, Mark Morton and Willie Adler on the guitars, John Campbell on bass and Art Cruz on drums was beyond superb, with the first three of the album, Laid to Rest, Hourglass and Now You’ve Got Something to Die For, already igniting some of the sickest mosh pits of the night. The show moved on majestically, with Randy delivering his trademark “WOOOOOO’s!” inspired by the iconic Ric Flair in between songs, while the fans kept running around like beasts inside the circle pit. And after Ashes of the Wake was over, the band crushed whoever was still alive with the classics Walk With Me in Hell and Redneck, crowning another spectacular performance by Randy and his crew in Canadian lands. As mentioned for Mastodon, I would love to see Lamb of God celebrating many more decades of Ashes of the Wake with amazing concerts like that, and maybe next time there will be less confusion in the communication between us and the organizers, and you readers can have some ass-kicking photos as well to enjoy.

Setlist
Ashes of the Wake
Laid to Rest
Hourglass
Now You’ve Got Something to Die For
The Faded Line
Omerta
Blood of the Scribe
One Gun
Break You
What I’ve Become
Ashes of the Wake
Remorse Is for the Dead

Encore:
Walk With Me in Hell
Redneck

Band members
D. Randall “Randy” Blythe – vocals
Mark Morton – guitar
Willie Adler – guitar
John Campbell – bass
Art Cruz – drums

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